Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
British-born actress Geeta Basra makes a powerful return to the screen with the Punjabi film Meher after a decade away.
She reveals the industry once dropped her for getting married but now celebrates women balancing career and family.
Basra plays a relatable matriarch and describes the project as a “dream role” that mirrors her own life.
Meher is a large-scale cinematic experience shot in unique locations like Manikaran, designed for the big screen.
After a decade away building a family and a life outside cinema, British-born actress Geeta Basra is back with the Punjabi drama Meher, and this time, she’s rewriting the rules for married women on screen. For the mother-of-two, this isn’t just about returning to acting, it’s about challenging how the industry views married women and mothers while spotlighting the women who have inspired her own journey.
In an exclusive interview with Eastern Eye, Geeta opens up about her comeback, her inspirations, the shift in opportunities for women, and why this family drama feels so personal.
Geeta Basra returns with Meher after a decade away from films Instagram/geetabasra
A dream role that feels personal
Basra chose Meher with care, calling it her “dream role.” The film is a richly woven family drama rooted in rural Punjab. She plays Simmi, the "epicentre" of her family, a relatable figure who binds everyone together through love, betrayal, and emotional upheaval. The film explores hardships not only between husband and wife but also through multiple family dynamics, including a surprising “bromance” between male characters.
“As mothers, our instincts are so similar,” Basra explains. Just as important, it was a film she could proudly share with her children. “I picked this role very carefully, for something my family can watch,” she admits. For her, stepping into Meher feels like one of the defining moments of her career.
If Basra’s character draws from her instincts as a mother, her real-life inspiration comes from the women around her. “My mother is my first and foremost inspiration in life,” she says warmly. “Seeing how she balanced her businesses while raising three children makes me want to do better every day. Different people inspire me at different points, but my mother has always been my guiding light.”
She also points to the resilience of ordinary women as her motivation. “Seeing women multitask, balancing life, work, children, and family is incredibly motivational. Before, women were often written off after marriage and motherhood, but today, we have the opportunity to pursue our dreams. Seeing my daughter proud of me for following my passion inspires me to do even better.”
Meher marks Geeta Basra’s powerful comeback to Punjabi cinemaInstagram/geetabasra
Proudly Punjabi
For a British-born actress, questions of authenticity in playing a rural Punjabi woman were inevitable. But Basra is quick to dismiss them. “We are so rooted to our roots,” she says. “I’m now Punjab ki bahu. It’s my second home. I am Punjabi, and I’m a very proud Punjabi.” She didn’t need to study the role, she’s lived it.
Basra insists that the presence of women in production roles is just as crucial as those in front of the camera. Meher is produced by Kamal Kaur, one of the few women at the helm of large-scale Punjabi projects. “When women greenlight projects, they greenlight stories that reflect reality, stories where women aren’t sidelined after marriage but are centred,” Basra says. For her, that representation is both rare and revolutionary.
Geeta Basra says motherhood is her strength, not a setback in filmsInstagram/geetabasra
Redefining the rules for married actresses
The industry she left was far less forgiving. Basra recalls being dropped from four major films simply because she was linked to her now-husband, cricketer Harbhajan Singh. “It was either this or that. Never this and that,” she remembers. For women, the choice used to be family or fame. Today, she is headlining a major project while raising two children, something that once seemed impossible. “It’s commendable and remarkable,” she says of the change, though she emphasises much more work remains.
British-born Geeta Basra opens up on comeback film MeherInstagram/geetabasra
What’s next for Geeta Basra
With the “seal broken” on her comeback, Basra is determined to push further. She wants content-driven films that showcase her versatility, recalling how her career has already spanned everything from a bold debut to playing a villain. “I don’t want to bind myself to one kind of role,” she insists. Her only filter now is simple: would her family be proud to watch it? With several projects already lined up, she intends to make sure the answer is yes.
For Basra, Meher is also a reflection of where Punjabi cinema is heading: bigger in scale, richer in music, and designed for the cinematic experience. But she wants that ambition matched with better stories for women, especially mothers. “Women can also have a career. Women can also work after marriage,” she stresses.
Geeta Basra’s message is clear: experience is not a liability. It’s her strength. With Meher, she’s redefining what it means for women to lead on screen. And for Geeta Basra, this is only the beginning.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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